Wintertime Cheer: SSAA, a cappella Choral Octavo
Music by Jay Althouse
Item: 00-PO-0007943
$1.65
Minimum order quantity: 20 copies
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Description
A contemporary a cappella madrigal. Filled with traditional "fa la la's" and resonant modern chords, Wintertime Cheer even includes a part for optional hand drum or tambourine. Jay Althouse's setting of a text by 17th century poet Tom Durfey mixes a historic musical form with crisp, up-to-date composition techniques. Interesting choral textures, and surprising tonal dissonances. Several four-part arrangements to choose from.
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Additional Details
Series:
Alfred Choral Designs
Publisher:
Alfred Music
Page Count:
12
SKU:
00-PO-0007943
Instrumentation:
Opt. Hand Drum or Tambourine
More about this title
About the Composer: Jay Althouse
Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was later recognized as a Distinguished Alumnus. His eight-year tenure as rights and licenses administrator at a major educational publisher gave him deep insight into what choirs actually need; he even served on the Executive Board of the Music Publishers Association of America during that time.
With over 800 choral compositions in print, Althouse's work reaches choirs worldwide. He's an ASCAP writer member and regular recipient of their Special Award for compositions. Beyond his own prolific output, he has co-written children's musicals with his wife Sally K. Albrecht, edited respected vocal collections, and authored classroom resources including The Complete Choral Warm-up Book and Accent on Composers. His collaborative work I Hear America Singing was performed by the San Francisco Girls and Boys Choirs at President Obama's inauguration in 2009.
Why we love this
Althouse's gift for bridging historical form and contemporary sound becomes particularly clear here. The madrigal structure provides immediate familiarity for singers, while his harmonic language keeps things engaging and modern; this is not your textbook Renaissance pastiche. The optional percussion part adds welcome flexibility for groups with varied instrumentation.
What to expect
Crisp and spirited, with unexpected harmonic turns that catch listeners by surprise. The traditional 'fa la la' refrain creates a warm, almost familiar welcome, then Althouse's modern chord choices pull the piece into fresh territory. It's festive without being saccharine, accessible without being simple.
Who it's for
Advanced high school women's choirs and college groups looking for contemporary a cappella repertoire that feels both inventive and rooted in tradition. The multiple voicing options mean it works equally well for SSA or SSAA ensembles, making it adaptable across different seasons and ensemble sizes.
How to get the most out of it
- Treat the 'fa la la' sections as rhythmic anchors. Their buoyancy can settle a section that's overthinking the modern harmonies.
- Highlight the tonal dissonances Althouse builds in rather than smoothing them away. These moments read best when they land intentionally.
- If using the hand drum or tambourine, keep it light and percussive; let it mark pulse without overwhelming the vocal texture.
- Map the four-part arrangements before rehearsal so singers understand which option suits your ensemble's needs and range.
How to use it
Pair this with other contemporary madrigals or secular works for a concert exploring how composers reimagine historical forms. Its winter theme makes it natural for holiday programming, but the sophisticated harmony gives it depth beyond typical seasonal fare. The optional percussion opens doors for collaborative performances with your percussion or handbells ensemble.
Skills your students will build
- Reading and performing contemporary harmonic language while singing a cappella
- Balancing traditional textual elements ('fa la la') with modern compositional techniques
- Singing independent melodic lines in close harmonic proximity without pitch drift
- Ensemble awareness in multiple four-part voicing configurations
- Blend and balance across dissonant intervals